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Interesting read: https://www.themanufacturer.com/articles/barefaced-audio-rocking-the-speaker-world-with-innovation/

It's about Queen, so I'm guessing if they bought out 12 films, you might find 5 minutes in each one that might be OK; a little like their albums .

Hi all, just a quick hello. Been on the books since the bassworld days but not of late due to loosing my job and getting divorced, then becoming homeless within the space of a week. Back to playing and on the lookout for a very cheap lefty bass, as I had to sell my collection to be able to eat. Glad to be back here, feeling human.

Simply awesome @Andyjr1515

Well discussed... sambucadan Members 0 17 posts Report post Posted October 11, 2011 Just to set the record completely straight 😉 The Streamer models are similar to Stuart Spector NS basses in terms of body shape, original one piece bridge (now a two piece) and headstock design, which caused a legal conflict when the Streamer was first introduced. Spector eventually sued Warwick for copying the body shape, but the jury decided not to fine Warwick[citation needed] It was well documented that the first versions of the Streamer were exact copies of the NS-Bass™. The SPECTOR® NS-Bass™ was designed by Ned Steinberger for Stuart Spector in 1977; 5-years before Warwick was formed. At the annual NAMM Show in 1985 Stuart Spector became aware that a new German-based company was producing exact copies of his now famous SPECTOR® NS-Bass™. Spector, along with Ned Steinberger, confronted Hans Wilfer and he agreed to pay a licensing fee to both SPECTOR® Guitars and Ned Steinberger in return for being able to continue to produce the Streamer without legal action.[2] Shortly after this agreement was reached, SPECTOR® sold to Kramer Guitars. The new owners had no interest in pursuing Warwick to enforce the licensing agreement and Warwick continued to make the Streamer without any consequence. It is also noted from several sources that Warwick never paid any of the agreed fees. In 1990 Kramer became insolvent and filed for bankruptcy. In the wake of their financial failure Stuart Spector formed Stuart Spector Design, LTD. in 1993. In 1997 after a lengthy court battle, Stuart Spector bought back the trademark and copyrights to SPECTOR® and threatened to sue Warwick to enforce the 1985 license agreement.[3] Facing new legal action from SPECTOR®, Warwick changed many design elements of the Streamer body to make it less like the NS-Bass™. The pending litigation was eventually dropped because the new Streamer design was no longer an exact copy of the NS-Bass™

Okay, can we all stop this now please? This is about the JH Warwick bass, not another Spector vs Warwick and certainly not does a Thumb neck dive yes or no thread. Come on guys.....

I was going to say that I had you down as a bit of a Viz fan, but then I realised you were using the word and not talking about the magazine!

It might be pretty good, then. Back in the day when people read reviews in Time Out before going anywhere in London, you could be sure of a good time if you exclusively went to things that the Time Out journos didn't like... but generally if the public like something, then I won't. Viz: Strictly, BGT, EastEnders, any currently-successful pop act, pizza, burgers, painted-on eyebrows, the Ford Mondeo, artificially-enhanced buttocks, and on and on. Actually, the Mondeo is a good car. But you get my drift.

Hi all. New to this forum and been reading up on the Steinberg Spirit strap mod thingy, having bought an XT25 this week. In agony after using it for a 4-hour rehearsal, I just moved the strap button from the end of the guitar to about 4 inches from the end, and about an inch down from the top (fitted it on back of body) - magic! At least now I can see the lower frets with my failing eyesight, and I'm not playing 2 frets higher than I think I am. Time will tell if it's a comfortable fix, but I'm hoping so!

So, if Kramer Guitars have no issue about it, why do some folk here have to continually beach about it? All the rest is old, been chewed over dozens of times. I like Warwick basses. The legal wrangle isn't my fault and has nothing to do with me. I also don't like the look of the Spector, slightly longer look. It isn't as well proportioned, IMHO. That is just my opinion. If some here don't like Warwick basses, then go and find another thread and keep off the few Warwick ones we have. /rant Phew. I feel better now.

I'm a firm believer in planting a seed first. ... Maybe it's a phrase, maybe just a word. But plant that first in your brain and forget about it. ... If it's good it'll come back again and again. ... Try not to get fixated in rhymes. ... The moon/june/swoon tune. You can always do that later when you're cleaning it up. ... Editing is a big part of writing. ... I wrote a book and the editing was the most painful part. ... Bob Dylan was asked where his early songs came from, Watchtower, Highway 61, etc, and he had no idea and said he could never write like that again. ... I like to write story songs so they have a beginning, a middle and an end. Then you know it's over. ... Study songs you like and try to figure out why they appeal to you. ... Writing is a commitment. Work at it and you'll be good. ...

Quick and dirty pic of my BB434 from Wed night. It acquitted itself well at band practice. Very happy with the sound, the ergonomics and the fit/finish. Would probably put beefier strings on it, the stock ones seem a little thin for my tastes but that's not the bass's fault. A lot of bass for £299, that's for sure.

Yeah, Hans Peter Pilfer has lots of those....... *cough* Spector royalties *cough* 😂

Heh, Country's easy. Here's a starter kit: DO-IT-YOURSELF COUNTRY & WESTERN SONG KIT I met her [1] [2]. I can still recall [3] she wore. 1. 2. 3. on the highway in September that purple dress in Sheboygan at McDonald's that little hat outside Fresno ridin' shotgun that burlap bra at a truck stop wrestlin' gators those training pants on probation all hunched over the stolen goods in a jail cell poppin' uppers that plastic nose in a nightmare sort of pregnant the Stassin pin incognito with joggers the neon sign in the Stone Age stoned on oatmeal that creepy smile in a treehouse with Merv Griffin the hearing aid in a gay bar dead all over the boxer shorts She was [4] [5]. 4. 5 sobbin' at the toll booth in the twilight drinkin' Dr. Pepper but I loved her weighted down with Twinkies by the off-ramp breakin' out with acne near Poughkeepsie crawlin' through the prairie with her cobra smellin' kind of funny when she shot me crashin' through the guardrail on her elbows chewin' on a hangnail with Led-Zeppelin talkin' in Swahili with Miss Piggy drownin' in the quicksand with a wetback slurpin' up linguini in her muu-muu and I knew [6]; [7] I'd [8] forever; 6. 7. 8. no guy would ever love her more I promised her stay with her that she would be an easy score I knew deep down warp her mind she'd bought her dentures in a store She asked me if swear off booze that she would be a crashing bore I told her shrink change my sex I'd never rate her more than "4" The judge declared punch her out they'd hate her guts in Baltimore My Pooh Bear said live off her it was a raven, nothing more I shrieked in pain have my rash we really lost the last World War The painters knew stay a dwarf I'd have to scrape her off the floor A Klingon said hate her dog what strong deodorants were for My hamster thought pick my nose that she was rotten to the core The blood test showed play "Go Fish" that I would upchuck on the floor Her rabbi said salivate She said to me [9]; But who'd have thought she'd [10] [11]; 9. 10. 11. our love would never die run off with my best friend there was no other guy wind up in my Edsel man wasn't meant to fly boogie on a surfboard that Nixon didn't lie yodel on "The Gong Show" her basset hound was shy sky dive with her dentist that Rolaids made her high turn green on her "WorkMate" she'd have a swiss on rye freak out with a robot she loved my one blue eye blast off with no clothes on her brother's name was Hy make it at her health club she liked "Spy vs. Spy" black out in a Maytag that birthdays made her cry bobsled with her guru she couldn't stand my tie grovel while in labour [12] goodbye. 12. You'd think at least that she'd have said I never had the chance to say She told her fat friend Grace to say I now can kiss my credit cards I guess I was too smashed to say I watched her melt away and sobbed She fell beneath the wheels and cried She sent a hired thug to say She freaked out on the lawn and screamed I pushed her off the bridge and waved But that's the way that pygmies say She sealed me in the vault and smirked

My current set up. Traynor YBA200-2 paired with A Traynor TC410 NEO cab. Bass's 1978 Music man stingray and Fender Jag.

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https://issuu.com/janberendsen/docs/british_bassmakers

I've got a MacBook Pro, late 2012 model that I've had from new. It was fitted with a new SSD early last year. I use it for Logic Pro X for hours each day, it copes fine. If anything happened to it I would certainly buy another. I use iCloud as a backup, it also means I can access my files from any device anywhere which is brilliant. I've only got the standard 4gb of RAM and have never really had a problem, it depends I guess what you're going to be doing with it, I run some quite processor-hungry plugins in Logic sometimes without a problem.

The Darkglass was recently part of the ‘Heft Test’ at the SE bass bash. Here’s a video of all the amps (class 4 vs valve) in action.

Nowt special in France, that I know of...

So I wasn’t going to do this ‘cos, well since the little one came along I’ve not been playing much... so I had a lovely very nice JD Thumb bass, sounded amazing, massive bottom end, piano like tone, played lovely my dream bass since I started playing as a teenager... except after 4 years I still didn’t click with it... something about my playing style and right hand technique meant I couldn’t gell with it - and I tried. So the first basschat bass deal I ever did about ten years back was when I convinced @warwickhunt to sell me a streamer stage one ... we’ve bought sold and traded a few things from each other over the years and this time a conversation turned into a drive an exchange of cases... so the little one has been cutting back on my practice time, and normally the way I can tell I’ve not got the strength with my little finger on the left hand... I just picked up the bass and played something and wasn’t thinking but was using my out of practice left hand ... the neck just fits my hand and the bass just plays itself - bloomin amazing instrument need to get practicing now obligatory photo, new bass on left

Nordstrand NJ4 70's for the fast response and 60's for the pronounced mid range. That said, it depends if you like single coil sound or humbucker sound or stacked humbucker sound or in-line humbucker sound or side-by-side humbucker sound. Check this as you have a short description of lots of Jazz Bass pickups : https://www.bestbassgear.com/bass-pickups/shopby/jazz_bass/4_string.htm?dir=asc&limit=all&order=price

I watched them film one of the American street scenes in Hatton Garden (where i work) last Nov. Amazing transformation. Not seen the film yet.

My understanding is that the P Specials with the Standard logo were built with USA pickups.

Two bars, then ...

OK, that's War And Peace, now let's see you summarise A La Recherche De Temps Perdu ...

the photo has been offered to the Skolmeister , we can await his publication

Sound advice. Also, try free writing - you just write and write. Doesn't have to rhyme, look like lyrics or even make sense. It can be doggerel, obscenities, anything you like, but if you try to keep a theme or idea in your head while you're doing it, things can pop out of nowhere. It might be something alliterative or onomatopoeic or a play on words - anything. But even a short sentence can be enough to get you going. I'm working on a TV series at the moment, and free writing is a godsend when I hit a wall. I just put my characters into mundane situations and type away. Most of it goes into the bit bucket, but I've come up with some gems that I'm very pleased with. You do have to be ruthless and self-critical to a fault, though. It's quite normal to write ten thousand words and chuck almost everything away; and what's left may need a lot of changes before it works. But when it does work, it's immensely rewarding.

It’ll kick donkey with the BB2, just be aware that you may need to adjust the tweeter to suit. I run an ABM EVO through a Super Compact and it is glorious and creamy and phat.

I have gone too far...

Top tip: Don't write songs about being really depressed or they'll make you miserable every time you perform them!

'Just pick phrases you like from other peoples songs and stick them together without a thought for logic, grammar or copyright.' (Noel Gallagher, 1994 - Probably)

First band practice with the Talman last night. When I took it out of the case and put it on the guitarist said "No bass tonight?" Yup, its a short scale I said. Its the first time any band member has noticed what I am playing, probably cos It looks more in keeping with my build rather than a long scale bass. I left the amp setting the same as my long scale Yamaha and the the keys and guitarist both mentioned how good it sounded. Not sure if they were impressed by the tones, or simply amazed that a "Small" bass could sound like a "Regular" instrument. I was well impressed with the sound, full and woody would be my take. I will be buying another in sea green finish as a backup, no more long scale basses for me.

Doesn't work when you're playing in pubs and have to carry the PA, the lights, etc. as well as your own rig.

After Mr George Orwell and his essay The Moon Under Water: My favourite public-house, the Frog and Fakkit is only two minutes from the central car park, but it is on a side-street, and polite little families and well-dressed couples never seem to find their way there, even on Saturday lunchtimes. Its clientele, though fairly large, consists mostly of ‘regulars’ who spend much of their day in a recumbent position in the nearby park and go to the Frog and Fakkit for the drugs available from a weasel-featured man named Danny as much as for the beer. If you are asked why you favour a particular public-house, it would seem natural to put the drugs first, but the thing that most appeals to me about the Frog and Fakkit is what people call its ‘ambience’. To begin with, its whole architecture and fittings are uncompromisingly 1970’s. It has a mixed bag of formica-topped tables and cast-iron tractor-seat chairs, plastic panels masquerading as oak and peeling, Paisley wallpaper. The sticky carpet, the gouged bar top, the fake horse brasses adorning the walls and the ceiling stained dark brown by tobacco-smoke, the nudie-picture calendar behind the bar — everything has the solid, comfortable ugliness of the mid-twentieth century. In winter there is generally a good fire burning in the skip outside the front door, and the ‘last century’ lay-out of the place encourages those fleeting collisions which lead so gratifyingly to flare-ups of savage violence. There are a public bar, a saloon bar, a dealers’ bar, an off-sales counter for underage drinkers and – upstairs – a large, empty room in which on Tuesdays Fridays and Saturdays live bands perform to the utter indifference of the patrons below. In the Frog and Fakkit it is never quiet enough to talk. There is a radio behind the bar tuned to Heart FM, a ‘digital’ juke box, two fruit machines, Sky Television and piped-in music. All are playing simultaneously and the only time they cannot be heard is when a band of hopelessly incompetent hobbyist ‘musicians’ is upstairs performing Sex On Fire. The barmaids know their customers by name, having at some time taken most of them upstairs there to conjoin on a soiled mattress under the ‘stage’ . They are all middle-aged women—two of them have no teeth—and they call everyone ‘yew fakkin kant’ irrespective of age or sex. You cannot get lunch at the Frog and Fakkit but there is - beside the plywood lavatory door - a snack counter where you can purchase expired pickled eggs or pork luncheon meat fried in batter (cold). They are particular about their drinking vessels at the Frog and Fakkit, and never, for example, make the mistake of serving a pint of beer in a glass. Apart a selection of ‘pewter’ mugs screwed to the canopy which overhangs the bar every receptacle is made of plastic, a wide and vivid scar on the landlord’s jaw perhaps testifying to the matter. The great surprise of the Frog and Fakkit is its lavatory. You go through a narrow passage leading out of the saloon, and find yourself in a fairly large garden with plane trees, under which there are old car tyres, broken bottles and the remains of a tramp who expired there a few years ago. Up at one end of the garden there is a roofless garden shed wherein the customer in search of relief will discover a spreading pool of urine, a stained plastic bucket containing a noisome admixture, and a pile of newspapers, mostly editions of the Daily Mail from the period when said organ was edited by Mr Paul Dacre. On summer evenings there are ritual human sacrifices, and you sit under the plane trees injecting skag to the tune of delighted squeals from feral children prodding the burnt offering with sticks. The Frog and Fakkit is my ideal of what a pub should be—at any rate, in a metropolitan area. (The qualities one expects of a country pub are slightly different.) But now is the time to reveal something which the discerning and disillusioned reader will probably have guessed already. There is no such place as the Frog and Fakkit. That is to say, there may well be a pub of that name, but I don’t know of it, nor do I know any pub with just that combination of qualities. So if anyone knows of a pub that has junkies of every persuasion, food poisoning, brutal violence, insanitary facilities, deafening noise, regular visits by Plod, a reeking midden in the garden and prostitute barmaids I should be glad to hear of it, even though its name were something as prosaic as the Red Lion or Wetherspoons.

Congrats on your new bass. I think Ibanez basses are generally amazing value for money - brand new and even more so 2nd hand - as unfortunately they don't hold their value at all. I love short scale bases too - more comfortable with having small mitts and T-rex arms!

I have mild tinnitus, worse in my right ear due to hi-hats (I've swapped sides on stage and stand further away from the drummer), and as soon as I properly noticed it, I ordered custom fit earplugs from Minerva. They take out 18db and have flat attenuation. I wear them at all rehearsals and gigs. I cannot be without them. My tinnitus has not got any worse. My guitar player doesn't wear them and I worry about him so much. At gigs I just have the "christmas tree" standard plugs which are perfect for just watching. I'm quite "militant" about it now and if I see bands or musicians not wearing them, I always have a quiet, kind word so that they look after themselves for the future. It scared me when I first realised I had it and once I started talking about it, it was amazing how many musicians didn't want to admit it because they felt silly they hadn't thought about, looking after their hearing. I have one pal, a very well known player, who's tinnitus is so bad I can't imagine how he deals with it. Scared the crap out of me, I have to be honest. Anyway, please get moulded plugs as soon as you can. You won't regret it I promise. They may cost money but, how much is your hearing worth? Here's a link to the ones I got just as a reference. Good luck ⭐🎧 http://minervahearing.co.uk/product/bassist-music-plugs/

I don't use them so don't know but wouldn't in ear monitors sort this problem? Just have them as loud as needed, and if ambient sound missing is a problem then set up a spare microphone somewhere and blend it into your mix.

I see that view expressed often, but never by audio engineers. You know, the people who invented music reproduction. What is important to music reproduction is well known and has been for quite some time. What we can measure exceeds what we're able to hear by at least two magnitudes of order. It's not our knowledge that's limited, it's the dissemination of that knowledge to the masses. For outfits like Wilson that's a good thing, otherwise they'd never sell a single piece.

Where I'm based (excuse the obvious pun to begin with), in Llanelli/Carmarthenshire area in South Wales, theres a LOT of guitarists and bassists, but very few drummers available. Have been tempted to try and learn drums as a backup plan, but I always return to bass (or guitar if desperate) I'm guessing its different situations around the country though. Had a fantastic drummer for one of my stoner/doom metal bands, but as he and his wife have just had their first child, he stepped down a few weeks ago - completely fair enough tbh as its a stressful time (as many folks on here know!)